Quote Originally Posted by alex


how do you take 7 bracketed shots in one burst, let alone 5? i can only figure out how to make my camera do three shots in a bracketed burst. is that an option a 450D doesn't have?
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It's actually easy. Use the main exposure compensation control. For example, on my 30D, I can set the bracketing to +/-1, then use exposure compensation to get all the shots. The easiest way is to set exposure compensation (with the main dial) to "0," take 3 shots (-1, 0, +1), then spin the dial counterclockwise to exposure compensation -2 (that's as far as it goes, so I don't even have to look at the readout), take 3 more shots (-3, -2, -1), then spin the dial clockwise to exposure compensation +2 (again, that's as far as it goes) and take 3 more shots (+1, +2, +3). That makes 7 different exposures: -3, -2, -1, 0, +1, +2, +3. However, I usually just take -2, 0, +2. Again, on the 30D, with exposure bracketing set, the camera will automatically take 3 shots if I hold down the shutter button (or, better, use a remote release) or use the self-timer. (Naturally, I'll have the camera clamped down tight on a sturdy tripod and touch it the least I can.)


I use Photomatix and generally like it. It does take some experimenting. (It has three different modes that will give different results.) Their "details" mode gives the most dramatic shots (it works with "micro-contrast" to bring out details). Their "tone compression" mode, on the other hand, usually gives a more "realistic" image. Here are some examples.


Start with this at "0," then take -2 &amp; +2:





[img]/cfs-file.ashx/__key/CommunityServer.Components.UserFiles/00.00.00.23.54/IMG_5F00_1148_5F00_800.jpg[/img]





Use the "details" tonal mapping to get:





[img]/cfs-file.ashx/__key/CommunityServer.Components.UserFiles/00.00.00.23.54/IMG_5F00_1149_5F00_50_5F00_48_5F00_auto_5F00_tm1_5 F00_2_5F00_800.jpg[/img]





Note that it looks a bit "fake." If you use tone compression, you can get a more realistic look:





[img]/cfs-file.ashx/__key/CommunityServer.Components.UserFiles/00.00.00.23.54/IMG_5F00_1149_5F00_50_5F00_48_5F00_auto_5F00_comp1 _5F00_2_5F00_800.jpg[/img]





Since I worked from RAW (which Photomatix can do), I was able to change the white balance ("Auto" above) to "Shade" and get (tone compression):





[img]/cfs-file.ashx/__key/CommunityServer.Components.UserFiles/00.00.00.23.54/IMG_5F00_1149_5F00_50_5F00_48_5F00_shade_5F00_comp 1_5F00_2_5F00_800.jpg[/img]





The barn looks better, but the grass is too warm. That's the problem with having different colored light (here shade &amp; sunset daylight) in the same photo. (I expect that I could play with Photoshop Elements to correct this, but I'm just a beginner with it.)


One can go to extremes, as well. Here's what I started with (same location, same day, a little bit later, looking off in the distance):





[img]/cfs-file.ashx/__key/CommunityServer.Components.UserFiles/00.00.00.23.54/IMG_5F00_1193_5F00_800.jpg[/img]


Now use details and "fake" the white balance to tungsten to get:





[img]/cfs-file.ashx/__key/CommunityServer.Components.UserFiles/00.00.00.23.54/IMG_5F00_1195_5F00_4_5F00_3_5F00_tungstn_5F00_tm1_ 5F00_2_5F00_800.jpg[/img]


Rather surreal.


Finally, here's the first image I did with Photomatix, still in the trial mode (thus the watermark). This is more "typical," showing dark clouds and details on the ground. (This is essentially the same scene as the last two above.)


[img]/cfs-file.ashx/__key/CommunityServer.Components.UserFiles/00.00.00.23.54/IMG_5F00_0957_5F00_5_5F00_6_5F00_details_5F00_800. jpg[/img]


One thing to note is that you can lose a bit of sharpness if anything moves, even a little bit. That can also result in "shadows" around the objects that moved. In this case, the tree on the right is a LOT closer (maybe 250 yards) than the island, which is over 1.5 miles away. The DOF at f/8 isn't that deep.